PINK Floyd fanatics take note – David Gilmour has unequivocally stated there will be no reunion of the prog giant, ever, that features bassist Roger Waters and him in the same room. That much the guitarists has made clear as their feuding descends to new lows in recent years.
So fans will have to be content with solo output from these two wayward genuises to scratch that Floydian itch. Waters released his “version” of Dark Side of the Moon last year to commemorate that landmark album’s 50th anniversary and to claim sole credit for the multi-platnum behemoth from 1973.
Now, Gilmour has released his fifth solo album which dropped on Sep 6, comprising largely of songs conceived during the lockdown at the guitarist’s family farm. It is very much a family affair with Gilmour’s spouse - author Polly Samson - contributing the bulk of the lyrics (a role she has played since Floyd’s Division Bell days). Thei kids also lend a helping hand with various bits of instrumentation and backing vocals.
Floyd fans will be enthused to learn that the keyboards to the title track were laid down by Richard Wright in 2007 before his passing.
But can family members take the place of Messrs Wright, Waters and Mason in producing something that sounds vaguely Floydian? The answer is somewhere in between.
This being a solo effort, there surely be notable differences with band efforts but Gilmour’s signature guitar tone is recognisable from the off. The melancholic style is evident from the opening intro of Black Cat and as expected the main source of the album’s identity.
The 78-year-old protagonist has claimed that this record is his best work since Dark Side of the Moon. Similarly to DSOTM, Samson’s lyrics also deal with themes of mortality and ageing, giving Luck and Strange a common platform as the earlier best seller. But few, if any albums can match the emotional resonance of DSOTM, even one by the original guitarist who sang and played on that 70s classic.
Overall, there is a lightness of touch on many of the tunes that would otherwise been missing if it had appeared under the Floyd banner. One would imagine proceedings taking a much darker and sombre mood, especially if Waters was involved.
Produced by Gilmour and Charlie Andrew, it was noted that the latter was “young and ignorant enough” of the former’s incredible body of work to dare challenge pre-conceived notions of what the new album should sound like. But when the artiste is approaching his eight decade and whose sound is so deeply entrenched within the minds of so many music fans, one cannot really be expecting anything groundbreaking with Luck and Strange.
What listeners get is a collection of songs carefully crafted in a way that Gilmour is obviously comfortable and familiar with, even if there was much talk of doing things differently in the studio at the behest of Andrew.
The tunes are smooth and palpably bear all the signatures of an elder statesman just intent on making music the way he wants it, free of the usual industry pressure. Gilmour admits that the incredible wealth afforded through his time in Floyd allows him the freedom to pretty do as he pleases. And that sense of freedom is very evident on the playful Dark and Velvet Nights with its ska-like machinations whilst pulling off a typical solo that could have been an outtake from Comfortably Numb.
Will Pink Floyd fans be satisfied? Put it this way, Gilmour does not really give a toss if they do not. Truth be told, the legion of fans will already have bought a copy or busy streaming it on continous loop.
Does it deserve non-Floyd aficionados time and attention? Probably not as they will probably wonder what the fuss is all about and quite possibly label this as prime time “dad rock”.
Those who are unconcerned by issues of aging rock stars will find plenty to enjoy on this album? As long as one is not expecting DSOTM II, then Luck and Strange will prove to be a very enjoyable listen.
